Academization Forms of Popular Music
Keywords:Academic music, popular music, mass music, Ukrainian retro music, B. Veselovsky, A. Kos-Anatolsky, V. Stepurko.
The paper reveals the issues of the academization of popular music in the contemporary cultural space. Already in the 19th century, there were frequent phenomena of the transformation of everyday popular genres, which, thanks to composer intervention, changed their status from applied music to presented (autonomous). In the 20th century, the transformation process has reached a new level, and today we can talk about the academization of popular music as one of the specific phenomena of the 21st century musical culture. The academization of popular music becomes possible in cases where the composition is a highly artistic work that has semantic content, expressed in the presence of several cultural codes; it has passed the test of time, thanks to which its true value was determined; the composition in the process of rethinking was adapted to the standards of academic music in terms of instrumentation, developmental techniques, and musical forms, which ultimately changed the forms of its existence and included it in modern concert academic practice. Academization is characteristic of all cultures, where academic music is part of the national cultural tradition. One of the striking examples of the academization of popular music is the treatment of contemporary Ukrainian academic composer V. Stepurko popular songs by B. Vesolovsky and A. Kos-Anatolsky of the 1930s – 1960s, which returned to the concert stage decades later not as entertaining music, but as part of the cultural heritage of the 20th century.
Bardashevska, Ya. M. (2016). Figurative and Semantic Principles of Victor Stepurko’s Choral Creative Activity (on the Material of the a Cappella Choir). Ph.D. thesis. Odesa: Odesa National A. V. Nezhdanova Music Academy.
Bobul, I. V. (2018). Genre Forms and Style Connotations of Vocal-Pop Performance in the Musical Culture of Ukraine at the End of the 20th – Beginning of the 21st Century. Ph.D. thesis. Kyiv: National Academy of Managerial Staff of Culture and Arts.
Cherednichenko, T. (2002). Musical reserve. 70s Problems. Portraits. Cases. Moscow: New Literary Review.
Konen, V. (1994). The Third Layer: New Mass Genres in the Music of the 20th Century. Moscow: Muzyka.
Li Shuai (2019). Jazz in the Ukrainian Musical Performance in the Early 21st Century. Ph.D. thesis. Sumy: Sumy A. S. Makarenko State Pedagogical University.
Mukerji, Ch., & Schudson, M. (1991). Introduction: Rethinking Popular Culture. Rethinking popular culture: Contemporary perspectives in cultural studies, (pp. 1-61). Berkeley: University of California Press.
Semenchenko, E. V. (2016). Classical Crossover as an Object of Mass Popular Culture. Historical, Philosophical, Political and Law Sciences, Culturology and Study of Art. Issues of Theory and Practice. Tambov: Gramota, 1(63), 165–167.
Shak, F. M. (2018). Jazz and Mass Music in the Sociocultural Processes of the Second Half of the 20th – Beginning of the 21st Century. Doctor’s thesis. Rostov-on-Don: Rachmaninov Rostov State Conservatory.
Taiushev, S. S. (2011). Crossover Genre as a Phenomenon of Popular Culture. Knowledge. Understanding. Skill, 1, 231–237.
Tkachenko, A. I. (2016). Ukrainian Sacred Monody in Modern Practice of Composers. Ph.D. thesis. Lviv: M. Lysenko Lviv National Music Academy.
Zhurkova, D. A. (2012). Classical Music in Modern Mass Culture of Russia. Ph.D. thesis. Moscow: State Institute of Art Studies.
Zucker, A. M. (1991). Problems of the Interaction of Academic and Mass Genres in Modern Soviet Music. Extended abstract of Doctor’s thesis. Moscow: Tchaikovsky Moscow State Conservatory.
How to Cite
LicenseAll papers licensed under Creative Commons 4.0 CC-BY.
- Share — copy and redistribute the material in any medium or format
- Adapt — remix, transform, and build upon the material for any purpose, even commercially.
Under the following terms:
- No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.